Arts & Entertainment
Donning heels
Annual October race inspires creativity, political statements
Stacy King as Catwoman. (Photo courtesy King)
17th Street High Heel Race
Tuesday, Oct. 24
Parade at 7 p.m.; race at 9
17th and R-JR.’s
Register at Cobalt
Some folks get so excited about the annual 17th Street High Heel Race, they start planning their costumes as soon as the race is over each year.
That’s the way it is for Stacy King, a local stylist who does drag on occasion as Carolina Sugabush.
“Pretty much as soon as it’s done, the next day I start thinking about what I want to do the next year,” the 43-year-old, longtime D.C. resident says. “I kind of, you know, look throughout the year and then something will just call to me.”
This year’s race, the 31st annual, is Tuesday, Oct. 24 (it’s always the Tuesday before Halloween) from 7-9 p.m. Mayor Muriel Bowser, Ba’Naka and Ruby Corado are this year’s grand marshals. To volunteer, go to JR.’s at 6:30 p.m. for a volunteer shirt and instructions. Look for the event on Facebook for full details.
Last year about 150 raced. Thousands come each year to watch but just as popular, though, are people who come in creative drag just to see and be seen.
Whatever’s going on in news and pop culture is invariably reflected in each year’s getups. Last year Kim Davis was a big one. This year, expect everyone from Wonder Woman to Sarah Huckabee Sanders.
This is King’s fourth year going in drag though he attended several years previously as a spectator. He’s going as Mystique from “X-Men” this year and has gone as Jessica Rabbit and Catwoman in previous years.
King generally spends anywhere from $150-300 on his costume and though he mostly only wears it once, he says it’s still “totally worth it.”
The creativity involved — these are never just off-the-rack costumes from a Halloween shop — is a big part of the fun.
“They call to you from the crowd, the recognize the character, tons of people want pictures with you,” he says. “It’s validating and I like pleasing the crowd. … Every year, I’m not joking, it takes an hour to get through the crowd after it’s over just because so many people want photos. I’m always with my group of friends. … It’s insane.”
Rene Mejia performs as Kabuki B. Lee, a drag daughter of local drag legend Shi-Queeta-Lee. He works the drag brunch at Nellie’s every weekend and also performs at other events with Shi-Queeta. The first time he ever went out in drag was to the High Heel Race in 2012.
When Mejia spoke to the Blade (a sponsor of this year’s race) earlier this week, he and his drag pals were still deciding what their theme was going to be. He says they’re such pros, they can crank out a concept quickly.
“I have a couple sewing machines and some of the girls are pretty talented,” the 37-year-old Suitland, Md., resident says. “They can whip something up pretty fast and it will be awesome.”
In previous years, he’s gone as Betty Boop, the bride from “Kill Bill,” Amy Winehouse and Harley Quinn.
“It’s a fun platform for everyone who wants to say something either politically, socially or whatever, with a lot of humor and creativity,” Mejia says. “People really do put a lot of thought into it. It’s impressive. This is coming from someone who works in drag on the weekends. It’s really astonishing what some of them do.”
Stacy King as Jessica Rabbit. (Photo courtesy of King)
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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